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1 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/xrayschinacolorsOOschu 


/ l^ays  Qolors. 


* * 


ohannes  chumacher’s 


JMEW  METHOD  AND  JEGHNIQUE 


^tyipa  paitytii?^. 


^da§i###^§Nl^a^§i##§^§Ni^€€€€€€€#:€€€€€#€€€€#€€€«^ 


# 


m 


A complete  description  of  an  en= 
tirely  new  system  of  China  Colors 
which  enables  artist  and  amateur 
to  employ  any  technique  that  may 
be  used  with  oil  or  water  colors ; 
together  with  instructions  for  pro= 
ducing  any  intermediate  tint  de= 
sired  by  blending  primary  colors; 
also  directions  for  firing,  tinting, 
grounding,  etc 


i 


/ l^ays  ^tyipa  Qolors. 


Entered  according  to  Act  of  Congress,  in  the  year  1898, 
By  JOHANNES  SCHUMACHER, 

In  the  Office  of  the  Librarian  of  Congress  at 
Washington,  D.  C. 


EDEN  PUBLISHING  HOUSE  PRINT,  ST.  LOUIS. 


THE  GETTY  CENTEt 

library 


(I  ntreduction 


To  tip  skilled  artist  everything  coptaiped  ip 
tip  followipg  pages  is  opep  to  sirpple  proof;  all 
that  Ip  lps  to  do,  is  to  buy  a set  of  X Rays 
Colors  apd  a placqite,  apd  proceed  to  derpop- 
strate  for  t\irpself  tip  trath  or  falsity  of  tip 
clairp  set  Up  by  Mr.  Schaipaclpr,  to-wit: 


THAT  HE  HAS  PRODUCED  A SYSTEM 
OF  PORCELAIN  COLORS  WHICH  CRN  BE 
TREATED  AS  OIL  AND  WATER  COLORS  ARE 
HANDLED, 


Tipis  at  ope  boilpd  porcelaip  paiptipg  rises, 
tlpoagh  X Rays  Colors,  frorp  beipg  tip  Ippd- 
rpaidep  to  paiptipg,  to  fall  sisterhood, 

For  tip  aipatear  it  is  oply  pecessary  to  tape 
tip  priipary  X Rays  Colors  apd  ipix  tiprp  as 
directed,  apd  ip  too  Will  fipd  tipt  ips  release 
froip  tip  distractipg  parpber  of  tipts  ip  separate 
tabes  I\as  coipe,  He  Will  learp  to  rpape  ips  owp 
tipts,  develop  ips  °wp  color  sepse,  apd  apder 
corppetept  gaidapce  grow  ipto  ap  artist, 

Need  apytippg  rpore  be  said  tipp  this,  that 
by  the  ipethods  hereirl  described  the  gepias  of 
a Lehpbach  or  a Boagereaa,  ipstead  of  beipg 
exercised  op  a capvas  Which  fades  tfpoagh  the 
ceptaries,  ipay  be  displayed  as  iipperisipbly  as 
the  iparble  of  Praxiteles? 

What  this  ipeaps  the  fatare  will  show. 


/ 


JV|ir|era] 


AND  GRAYE  MISTAKES 
MADE  IN  THEIR  USE. 


We  are  desirous  of  advancing  china  painting  to 
real  high  art,  and  have  succeeded  in  producing  a color 
material  that  is  manageable  and  yielding,  that  allows 
of  bold  artistic  application,  and  that  can  be  handled  in 
the  free  characteristic  style  of  the  artist. 

These  colors  can  produce  any  brilliancy,  depth  or 
variation  of  color  existing  in  nature.  Hence  there  is 
nothing  to  prevent  china  painting  being  high  art. 

Hitherto  china  painting  rested  entirely  upon  the 
dexterity  of  the  hand  in  overcoming  a difficult  tech- 
nique. But  this  dexterity  was  dependent  upon  rules 
wholly  inconsistent  with  art.  Under  such  restrictions 
it  is  impossible  to  reproduce  nature.  The  difficult 
application  of  the  old  china  colors  caused  a want  of 
blending  power,  and  this  made  us  dependent  on  the 
manufacturer  for  a variation  of  shades  of  different 
colors. 

Consequently  all  directions  for  china  painting  were 
more  or  less  of  a mechanical  nature,  applicable  only 
to  china  painting. 


— 8 — 

X RAYS  COLORS. — Continued. 

With  X Rays  colors  can  be  exhibited  an  original 
technique  as  with  oil  or  water  colors,  and  our  coloring 
will  evidence  the  cultivation  of  our  color  sense.  The 
skill  and  taste  of  the  artist  using  X Rays  colors  is 
restricted  only  by  such  laws  as  drawing  and  artistic 
culture  prescribe.  The  allowances  made  to  the  material 
are  not  at  the  expense  of  art. 


In  what  follows  concerning  our  method  of  teach- 
ing, we  are  desirous  to  give  in  the  smallest  possible 
compass  reliable  and  practicable  information,  which  shall 
form  a foundation  from  which  individual  talent,  taste, 
sense  of  color,  etc.  may  develop  indefinitely  and  inde- 
pendently. China  painting  is  by  reason  of  its  deco- 
rative qualities  and  its  looking  pretty,  without  requir- 
ing an  art  education  by  the  amateur,  an  especial  field 
for  him.  With  X Rays  colors  there  are  no  technical 

* S* 

difficulties  to  overcome,  and  the  amateur  will  find  his 
work  interesting  and  successful. 


In  order  to  fully  explain  to  the  user  of  china  col-  j 
ors  the  cause  and  nature  of  his  difficulties  in  hitherto 
securing  certain  and  reliable  effects,  a brief  explana- 
tion of  the  process  of  making  the  colors  is  given  as 
follows : There  are  three  kinds  of  china  on  the  market, 
English,  French  and  German,  all  differing  from  each 
other  in  many  important  respects.  The  English  is  the 
softest,  the  German  the  hardest,  French  occupying  the 
middle  ground.  Now  the  glaze  and  flux  of  each  kind 
is  not  only  different  from  the  others,  but  the  German 


X RAYS  COLORS. — Continued. 


and  French  require  more  heat  than  the  English.  There 
have  been  three  makes  of  china  colors  on  the  market, 
German,  French  and  English,  which  are  based  to  go 
with  the  respective  china.  German  colors  with  Ger- 
man, etc. 

The  china  painter  was  usually  in  some  such  situ- 
ation as  the  following:  His  placque  or  other  object  to 

be  decorated  was,  say  of  German  make.  His  colors 
were  a mixed  lot  of  German,  French  and  English 
paints.  As  the  glaze  and  flux  of  the  placque  was 
identical  in  its  firing  requirements  with  only  a part 
of  his  colors,  the  reason  for  indifferent  and  unlooked 
for  color  effects  must  be  plain. 

MR.  SCHUMACHER  makes  his  own  base,  and 
it  fluxes  perfectly  with  all  three  kinds  of  porcelain. 
All  his  colors  have  the  same  base,  and  hence  only 
ten  colors  are  necessary  to  the  artist,  as  he  makes  his 
own  tints  and  shades  by  blending  the  primary  and 
secondary  colors,  proceeding  just  exactly  like  the 
painter  on  canvas  or  with  water  colors. 

China  colors  are  made  from  different  materials, 
decomposed  and  prepared  to  fuse  with  the  glaze  of 
china  when  fixed  together.  The  innovation  in  X Rays 
colors  is  in  this,  that  they  are  made  from  a common 
base  to  mix  with  one  another,  and  that  they  flow 
freely  from  the  brush,  permitting  the  hand  to  have 
entire  control. 

Heretofore  china  painting  was  a laborious  under- 
taking so  far  as  laying  on  the  color  went,  and  de- 
manded a great  deal  of  patience  and  practice  to  over- 


10  — 


X RAYS  COLORS. — Continued. 

come  the  difficulty  of  getting  the  color  laid  on  equally 
and  not  blurring  or  spotting  the  whole  design.  Infi- 
nite labor  was  spent  on  a subject  to  produce  some- 
thing like  the  idea  in  the  mind,  as  one  was  obliged 
to  square  the  idea  with  the  means  of  its  execution, 
and  the  hand  had  to  master  the  material. 

X Rays  colors  yield  immediately  to  the  painter’s 
hand,  and  amateurs  using  them  will  not  be  disgusted 
with  the  overwhelming  difficulties  presented  by  ordi- 
nary china  colors.  X Rays  colors  are  recommended 
in  ten  (10)  colors  only. 

Mr.  Schumacher  does  away  with  the  need  for  the 
one  hundred  and  fifty  different  colors  advertised  by 
well-known  firms.  How  is  it  possible  for  an  artist  fo 
paint  and  keep  in  mind  such  a distracting  variety  of 
colors?  He  can  never  be  their  real  master,  and  good 
results  must  largely  be  a matter  of  chance.  X Rays 
paints  are  enriched  from  their  own  bases  or  elements, 
and  not  by  admixtures  of  one  ready  powder  with 
another. 

Colors  to  be  reliable  for  art  work  must  be  ho\no- 
geneous.  A mixed  or  composite  color,  however  bright 
it  may  appear,  is  very  unreliable  for  painting  a pic- 
ture, though  it  may  answer  for  simple  decorative  pur- 
poses. (For  the  latter,  the  decorative  uses,  X Rays 
paints  are  prepared  dry  in  powders  or  ready  mixed 
with  oil,  in  different  tints,  to  meet  the  requirements  of 
dusting  or  tinting  or  what  pertains  to  decorating.) 

Of  what  advantage  are  mixtures  of  bright  or  rich 
tints  if  you  do  not  understand  their  composition,  and 


— 11  — 


X RAYS  COLORS.— Continued. 

hence  can  know  little  of  their  possibilities,  and  even 
that  little  with  feeble  certainty.  Each  color  in  our 
palette  should  be  pure  and  rich  from  its  base,  so  we 
know  yellow  to  be  yellow,  and  green  to  be  green.  For 
example,  a ready  mixed  color,  say  moss-green,  is  dead. 
To  produce  moss-green  as  the  artist  achieves  it  on  his 
canvas,  one  color  is  first  laid  on,  a green,  upon  which 
an  ochre  is  laid,  and  thus  he  continues  according  to 
his  skill  and  taste  until  the  desired  moss-green  effect 
appears. 

There  are  no  tints  in  nature,  only  primary  colors. 
So-called  tints  are  but  the  effect  of  light  and  shade  upon 
the  blending  of  primary  colors.  A green  leaf  is  com- 
posed, not  of  one  dead  color,  but  of  a hundred  varying 
tints.  The  greatest  painters  use  the  fewest  colors.  If 
for  convenience  we  have  one  or  two  colors  that  are 
mixtures,  we  must  know  and  understand  them.  We 
can  study  the  combinations  of  the  few  primary  colors, 
how  they  mix  and  blend,  but  we  cannot  possibly  un- 
derstand the  mixtures  of  mixtures,  and  it  requires  but 
the  slightest  knowledge  of  colors  to  see  that  these  latter 
can  not  result  in  a clear  transparence.  The  wretchedest 
confusion  of  mind  comes  from  the  dealer’s  warning  that 
a color  based  on  gold  must  not  be  mixed  with  one  based 
on  iron,  and  from  the  dictum  of  the  artist  that  only  pure 
colors  will  mix,  when  we  do  not  know  which  colors  in 
the  collection  are  pure.  Under  such  conditions  how  is 
art  possible?  A simple  illustration  will  show  the  revolu- 
tion wrought  by  X Rays  colors,  which  may  boldly  claim 
to  have  raised  china  painting  from  an  industrial  pursuit, 
and  the  employment  of  the  dilettante  to  the  dignity 
of  full  sisterhood  in  the  fine  arts. 


— 12  — 


Painting  P urple  ID  rape 

With  the  old  paints,  the  choice  is  between  at  least 
a dozen  purples.  We  make  our  selection  of  the  partic- 
ular purple,  and  put  in  the  grays  as  directed.  The  first 
difficulty  encountered  is  that  we  can  not  work  them  as 
we  please.  Where  we  wish  the  color  to  he  heavy  we  can 
not  get  it  smooth.  It  will  be  tacky,  get  blurred,  and  the 
patience  will  be  severely  taxed.  An  amateur  rejoices 
when  at  last  he  has  succeeded  in  making  some  of  the 
paint  stick,  and  if  this  is  half  way  smooth.  The  trouble 
caused  by  the  laying  on  of  the  color  completely  dis- 
tracts the  attention  from  the  drawing,  and  results  in  a 
loss  of  all  form.  The  subject  comes  from  the  kiln  pale, 
so  more  of  the  same  color  is  put  on  and  the  subject  is 
fired  again,  the  same  process  continuing  till  the  desired 
depth  of  color  is  attained.  The  result  is  indeed  purple 
drapery : but  hard  flat  purple  without  any  of  the  tints 
that  nature  delights  to  vary  in,  here  a yellowish  light, 
there  a greenish  half-tone  where  the  shadow  is  a reflected 
light.  We  had  not  dared  to  put  in  these  different  tones, 
because  knowing  nothing  of  the  composition  and  nature 
of  the  particular  purple  used,  a green  or  yellowish  color 
put  with  it  might  produce  some  muddy  gray. 

In  contrast,  how  easily  is  the  following  method  with 
X Rays  colors  understood : 

We  have  ten  (10)  colors  that  we  have  learned  to 
understand.  A careful  perusal  of  the  chapter,  where  the 
values  of  each  of  the  ten  colors  is  described,  will  show 
how  to  handle  the  two  purples  to  obtain  different  degrees 
of  strength,  depth  and  brilliancy. 


— 13  — 


X RAYS  COLORS. — Continued. 

We  lay  on  the  pure  elementary  colors  in  masses  in 
the  order  and  place  in  which  they  are  seen  in  nature 
or  on  our  study.  They  are  laid  on  heavily  where  we 
wish  them  dark,  lightly  where  delicacy  is  required. 
Then  we  blend  the  whole  without  any  difficulty,  as  we 
would  with  oil  colors,  and  the  subject  is  ready  for  the 
tiring.  These  primary  colors  are  after  the  first  firing  in 
a crude  yet  clear  state,  that  can  be  improved  upon,  as 
opposed  to  other  china  colors  which  generally  look  fin- 
ished in  tone  before  they  are  strong  and  deep  enough. 
A crude  yet  clear  color  can  be  heightened  or  darkened 
and  will  retain  transparency,  while  a finished  tone  will 
lose  transparency  when  more  color  is  laid  upon  it. 

For  tfie  second  firing  we  heighten,  tone  down, 
strengthen  or  deepen  where  we  think  necessary,  to  im- 
itate nature  or  reproduce  our  study. 

The  colors  admit  of  perfect  blending,  and  there- 
fore it  is  astonishing  how  quickly  and  easily  the  artist 
is  able  to  get  in  a great  variation  and  transparent  col- 
oring. The  teacher  is  needed  where  the  worker  lacks 
judgment  and  when  he  must  be  taught  to  see  right. 


^'he  (Cjutfit. 


palette,  . . . 
Brushes,  and  other  } 
Accessories.  . . 


Preparing  Colors 
Ready  for  Use,  apd 
Settiqg  tiqe  Palette. 


The  outfit  of  the  china  painter  working  with  X Rays 
colors  consists  of  a China-Palette  or  Box-Palette,  Knife, 
Bottle  of  X Rays  Medium,  Brushes  and  Ten  Jars  of  X 
Rays  Colors:  Canary  Yellow,  Yellow  Ochre,  Blood  Red, 
Finishing  Brown,  Black  No.  1,  Carmine  No.  1,  Carmine 
Purple,  Purple,  Turquoise  Green  and  Turquoise  Blue. 
For  ordinary  china  painting  this  outfit  will  answer.  (The 
use  of  other  prepared  colors,  powder  colors,  enamels, 
paste,  grounding  oil,  etc.  is  explained  later.) 

An  almost  universal  source  of  complaint  among 
china  painters  is  the  distracting  variety  of  shades  and 
tints  of  each  color,  that  the  old  makes  of  paints  com- 
pel the  artist  to  buy  and  keep  on  hand,  and  yet  they 
do  not  see  how,  with  so  limited  a palette  as  the  X Rays 
colors,  all  results  can  he  achieved. 

As  the  X Rays  colors  are  all  homogeneous, 
made  from  the  same  base,  each  color  will  blend 
with  all  the  others,  so  that  any  and  every  shade 
and  tint  can  be  produced.  In  short,  treat  these 
colors  exactly  the  same  as  you  would  oil  or  water 
colors. 


— 15  — 


THE  OUTFIT. — Continued. 

It  is  a grievous  error  that  students  of  china  paint- 
ing are  not  taught  to  think  while  painting,  and  yet  it 
is  an  impossibility  for  an  amateur  to  think  when  the 
outfit  before  him  contains  eighteen  kinds  of  green  alone, 
with  almost  the  same  number  of  reds,  and  a legion  of 
other  colors  and  tints.  It  is  impossible  to  steer  through 
these  innumerable  tints,  tones  and  shades  without  par- 
ticular direction  for  each.  These  directions  are  blindly 
followed  and  a promised  result  expected.  As  for  in- 
stance, put  on  apple-green  for  a leaf,  shade  with  chrome- 
green,  then  put  in  the  veins  with  some  other  green.  All 
this  is  on  the  same  principle  that  young  ladies  learn 
needle  work  : Four  stitches  of  yellow-green,  five  of  bright 
red,  etc.,  ad  nauseam,  and  by  exact  counting  and  copy- 
ing, the  pattern  is  bound  to  come  out  all  right.  But 
while  the  work  is  going  on  there  is  not  the  slightest 
artistic  notion  of  what  is  being  done,  no  color  sense, 
no  taste  developed  or  displayed. 

It  is  such  method,  or  rather  want  of  method,  that 
causes  wearisome  sameness  in  china  decorating,  the 
chief  difference  in  merit  of  the  work  being  the  varying 
degrees  of  excellence  of  the  drawing  in  the  design. 

Why  not  use  one’s  judgment  and  individuality 7 
however  simple  the  subject  may  be.  We  are  aware  that 
many  who  undertake  the  decoration  of  china,  have  not 
had  the  advantage  of  a preparatory  art  course,  and  can 
therefore  have  but  little  judgment  of  colors.  The  first 
requisite  is  a study  of  the  nature  and  property  of  colors. 
Based  upon  that,  every  time  colors  are  handled,  it 
matters  not  how  unpretentious  the  subject,  there  should 
be  a distinct  effort  at  cultivating  the  judgment  and  de- 


« 


— 16  — 


THE  OUTFIT.— Continued. 


veloping  the  taste.  With  some  instruction  color  can  be 
used  freely,  and  one’s  own  mind  direct  the  effort  after 
some  experience,  making  one’s  colors,  for  example: 
We  wish  to  copy  a study  of  a green  leaf,  a warm  brown- 
green.  Now  we  have  on  our  palette  a bluish  green. 
Green  and  yellow  make  a bright  yellow-green.  The 
study  shows  the  light  green  in  the  leaf  more  subdued, 
carmine  is  a transparent  contrary  to  green,  by  adding 
which  to  yellow  and  green  it  does  not  darken  nor  make 
the  tone  muddy,  but  simply  tones  down  the  intense 
greenness.  For  shadows  we  find  that  finishing  brown 
and  green  give  a dark  green.  However,  this  is  too  cold 
a green  for  our  purpose,  so  we  add  ochre,  which  makes 
it  a moss-green. 

After  firing  should  we  find  our  rose  leaf  too  gray, 
all  that  is  necessary  is  to  brighten  it  by  laying  over  a 
pure  green,  or  yellow  and  green.  If  on  the  other  hand 
we  find  that  the  leaf  had  fired  too  intense  a green,  we 
tone  it  down  by  washing  over  a thin  black,  or  carmine, 
or  ochre,  or  any  other  color  we  think  will  in  combination 
with  the  color  already  fired  in,  reproduce  the  color  of 
the  study.  It  is  surprising  with  what  interest  china 
painting  becomes  invested,  and  what  possibilities  colors 
are  found  to  possess  when  this  is  understood,  and  how 
quickly  the  learner  advances,  and  how  soon  the  eye  is 
trained  to  solve  the  most  difficult  color  scheme. 


white  china  box,  consisting  of  a lid  and  a tile  into  which 
small  demi-spherical  recesses  are  sunk  to  hold  the  col- 


— 17  — 


THE  OUTFIT. — Continued. 

ors.  The  lid  serves  two  purposes,  as  a cover  to  keep 
the  prepared  colors  fresh  and  free  from  dust,  and  as  a 
palette  for  mixing  paints. 


A most  convenient  way  to  arrange  the  colors  in  the 
palette  is  in  the  following  order:  First  row,  canary- 

yellow,  yellow-ochre,  blood-red,  finishing  brown  and 
black;  second  row,  carmine,  carmine-purple,  purple; 
third  row,  turquoise-blue  and  turquoise-green. 


Take  a quantity  of  color  from  each  jar  with  the 
palette-knife  and  mix  on  the  palette-cover  with  X Rays 
Medium,  using  about  one-fourth  oil  to  three-fourths 


color.  Then  fill  in  the  receptacles  of  the  palette.  It 
is  not  well  to  use  too  much  of  the  Medium  as  the  colors 
will  become  too  oily,  thus  not  working  smoothly.  Some 
of  the  colors  may  he  used  just  as  they  come  from  the 
jars,  while  others  will  need  a little  softening.  These 
colors,  when  ready  for  use,  should  be  of  the  consistency 
of  good  fresh,  soft  oil  colors.  When  the  brush  is  dipped 
into  it,  if  the  color  is  soft  and  short  (it  ought  to  heap 
and  hot  run)  it  is  all  right,  but  if  it  pulls  stringy  after 
the  correct  amount  of  oil  was  added,  mix  with  it  a drop 
of  turpentine.  It  is  false  economy  to  mix  only  small 
quantities  of  color,  as  the  color  cannot  keep  fresh  as 
well,  and  further  it  cannot  be  so  freely  used,  as  is  the 
idea  with  these  paints.  A palette  arranged  according  to 
above  directions  will  keep  fresh  and  soft  for  several 
weeks,  and  thus  the  colors  are  always  ready  for  use 
without  any  “working  up”.  If  the  palette  has  not  been 


Preparing 


— 18  — 


THE  OUTFIT.— Continued. 


used  for  some  time  and  the  colors  have  become  stiff, 
they  should  he  softened  with  turpentine  only.  No  more 
Medium  should  be  used,  as  the  colors  will  become  oily 
and  not  work  freely.  It  is  highly  important  that  palette 
and  brushes  be  kept  in  good  order.  With  the  tools  in 
had  shape  creditable  work  cannot  be  done. 


Those  best  adapted  to  these  colors  are  the  flat 
Russian  Sable  X Rays  brushes  and  the  Red  Sable  oil 
brushes.  Of  the  Russian  Sable,  No.  4 flat,  is  used  for 
blending,  also  for  laying  in  color  over  a large  space. 
No.  3,  2,  and  1 are  used  for  smaller  wbrk.  Red  Sable 
brush,  flat,  No.  8 is  used  for  touching  up  the  forms  where 
the  short  broad  brush  would  he  clumsy. 

Red  Sable,  round,  No.  7 is  used  for  outlining  fin- 
ishing touches  or  to  accentuate  the  drawing.  Fitch 
stippler,  deerfoot  shape,  No.  6 or  No.  8 is  of  assistance 
in  smoothening  heavily  laid-in  back  grounds. 

Another  accessory  is  a steel  color  eraser,  in  place 
of  which  a common  pen-knife  may  be  used.  Crisp  high 
lights  or  hard  lines  may  be  scraped  out  with  these  from 
a painting  that  has  been  dried.  A serviceable  erasing- 
pin  can  he  made  from  a sewing  needle,  fastened  with 
thread  into  an  old  brush  handle  that  has  been  slightly 
split. 


general  ^ -Remarks 


# * 


ABOUT  MIXING  COLORS. 


CHNHRY-YELLOW. 
YELLOW-OCHRE. 

BLOOD-RED. 

FINISHING-  BROWN* 

BLHCK  No,  1. 

CRRYLINE. 

CRRMINE-PURPLE. 

PURPLE. 

TURQUOISE-GREEN. 
TURQUOISE-BLUE. 

According  to  quantity  of  each  color  used  in  mixing 
two  or  more  colors,  one  or  the  other  will  dominate,  and 
equal  parts  of  contrary  colors,  as  green  and  purple, 
neutralize  each  other,  those  mentioned  producing  a cold 
gray.  The  exact  quantity  of  different  colors  to  be  com- 
bined to  produce  a certain  tint  cannot  be  given.  With 
some  little  experience  judgment  can  be  easily  attained. 
Colors  applied  in  thin  washes  will  insure  delicacy;  any 
pure  color  laid  on  heavily  will  fire  extremely  brilliant. 
Colors  are  generally  darkened  with  black  No.  1,  and 
finishing  brown,  when  they  yield  a dark  but  subdued 
shading  color  that  is  indispensable.  If  a chosen  color 
has  been  deepened  with  finishing  brown  and  has  not 
turned  out  brilliant  enough  to  suit  our  design,  we  carry 
the  chosen  color  bright  and  unsubdued,  graduated  to 


'Table  of  (Colors 
1 tfeir 


anc 


escri 


ptioq. 


— 20  — 


MIXING  COLORS. — Continued. 

meet  the  requirements,  upon  this  dark  undertone  and 
give  it  another  fire.  After  firing,  this  dark  undertone 
will  shine  through  the  bright  color  laid  over  and  render 
it  deep,  but  does  not  lessen  its  lustre. 

Should  the  amateur  by  mistake  have  used  too 
much  of  one  or  the  other  color,  in  trying  to  produce  a 
certain  tint,  and  this  color  after  firing  stand  out  vividly, 
there  is  no  need  for  worry  or  to  deem  it  spoiled,  all  he 
has  to  do  is  to  lay  on  a pure  contrary  color  till  it  is 
deadened.  In  this  way  a shade  that  has  been  too 
purple  in  the  first  fire  can  be  turned  into  an  ochre, 
red  or  other  desirable  tint.  There  is  no  danger  of  failure 
as  any  tint  procured  by  the  artist,  if  it  he  clear,  can 
he  counter-balanced,  enriched  or  softened  by  another 
color.  With  the  following  suggestions  about  the  table 
of  color  great  effects  can  be  obtained  with  skillful  hand- 
ling. Whatever  is  true  of  mixing  one  color  with  an- 
other, can  be  said  of  laying  over  one  color  with  another, 
and  the  result  will  be  the  same.  Two  or  more  colors 
used  in  combination  to  give  a certain  tint,  will  also 
give  this  tint  if  each  of  the  colors  be  laid  in  pure  and 
successively  after  as  many  firings. 

The  colors  are  then  qualified  in  applications,  that 
is,  a thin  wash  is  given  of  one  and  a heavier  one  of 
the  other,  according  to  the  tint  to  be  secured.  Great 
variation  of  color  is  achieved  as  much  by  mixing  dif- 
ferent tints  on  the  palette  as  by  successive  washing  and 
blending  in  of  different  colors.  This  latter  is  called 
glazing  in  oil  painting.  A second  color  is  laid  over  the 
first  color  for  the  purpose  of  strengthening,  reducing, 
or  neutralizing  its  lustre. 


21  — 


MIXING  COLORS. — Continued. 

X Rays  colors  admit  of  being  laid  in  very  heavily 
and  can  therefore  be  said  to  be  also  opaque. 


In  the  old  china  colors,  when  one  color  was  laid 
over  another,  the  amateur  was  seldom  successful  in  ob- 
taining clear  transparent  effects.  The  result  of  much 
exertion  in  this  direction  generally  was  a muddy  woolly 
appearance.  The  cause  rested  in  the  impure  color  used 
and  in  the  color  being  difficult  to  blend  in  smoothly. 
These  evils  are  remedied  by  the  new  colors,  which  are 
pure  and  rich  in  quality  and  easily  handled,  the  result 
being  unequaled  in  clearness  and  transparency. 

Things  requiring  only  one  fire  will  not  be  wanting 
of  extreme  brilliancy  in  purely  decorative  work. 

Bright  and  pleasing  effects  are  obtained  with  one 
fire,  but  brilliancy  and  depth  should  not  be  aspired  to 
in  one  or  two  firings.  AVhen  great  glow  and  depth  of 
color  is  needed  we  also  want  great  variation  of  color, 
and  variation  is  produced  by  glazing. 

In  the  following  table  of  colors  valuable  suggestions 
about  mixing  colors  to  produce  varied  tints  are  given. 
After  some  experimenting  a clever  hand  can  obtain 
truly  striking  results. 


When  used  in  a thin  wash  canary-yellow  will  give 
an  ivory  shade ; if  used  thicker  a very  brilliant  tone . 
Yellow  and  ochre  give  an  orange  color;  yellow,  ochre 
and  blood-red  yield  a very  deep  orange;  yellow-ochre, 
blood-red  and  finishing  brown,  a deep  yellow-brown. 
Yellow  in  X Rays  colors  is  almost  a substitute  for 


MIXING  COLORS. — Continued. 


white  as  in  oil  paints.  It  heightens  the  lights  upon 
any  dark  drapery  that  has  become  too  dark. 

With  yellow  and  a speck  of  green  we  can  heighten 
the  lights  of  leaves  or  bring  out  little  blades  of  grass 
that  have  not  been  scraped  or  left  out. 

Mix  the  local  tone  of  flesh  color  of  yellow,  a little 
blood-red  and  less  carmine-purple.  The  local  tone  of 
white  flowers  or  white  draperies  receives  beautiful  soft- 
ness and  warmth  by  a thin  wash  of  yellow  and  carmine- 
purple  (using  less  of  the  carmine-purple).  Yellow  and 
carmine  give  a desirable  shade  in  a pink-rose.  Yel- 
low that  has  been  fired  too  bright  is  subdued  by  a thin 
wash  of  carmine  or  carmine-purple.  Yellow  is  indis- 
pensable in  combination  with  green  or  blue,  and  will 
furnish  a number  of  bright  greens. 


'felloW-Qcl] 


re. 


* * * 


Ochre  is  a strong  color,  and  when  used  by  itself, 
that  is  if  an  ochre  color  tint  is  required,  should  be 
broken  with  one  of  the  other  colors. 


In  general,  ochre  should  be  used  in  very  small 
quantities  with  other  pure  color,  to  break  the  latter, 
that  is  to  lessen  the  intensity,  as  for  instance,  a little 
ochre  with  purple  will  take  away  the  obtrusiveness  of 
the  purple  color. 

Carmine -purple  and  green  in  equal  parts  give  gray 
used  in  flesh  tints,  and  should  be  broken  with  a little 
ochre.  Ochre  mixed  with  green  or  blue  in  different 
quantities  will  give  various  shades  or  warm  green. 


MIXING  COLORS.— Continued. 


Ochre  may  be  mixed  with  any  dark  shade  that  is 
to  be  laid  on  heavily.  In  such  composition  it  will  lend 
an  indescribable  mellow  hue  to  the  tone.  Ochre  is  also 
used  to  indicate  reflection  in  painting  flesh  or  any 
other  object  to  express  rotundity. 

Blood -Red.  * * * 

Blood-red  is  chiefly  a flesh  color. 

A little  blood-red  and  less  carmine-purple  added  to 
canary-yellow  gives  the  local  flesh  tone.  The  warm 
half-tones  in  flesh,  such  as  are  about  the  eyes,  cheeks, 
lips,  nostrils,  knuckles,  etc.,  are  indicated  with  blood- 
red  and  a little  carmine-purple. 

A little  blood-red  added  to  carmine  will  give  the 
latter  body.  Blood-red,  carmine,  and  carmine-purple 
(in  about  equal  parts)  are  happily  combined  to  produce 
a rich  geranium  color. 

Blood-red  can  be  said  to  be  opaque  when  used 
heavily.  Laid  over  a dark  undertone  it  will  stand  or 
cover  this  entirely  in  the  manner  of  oil  paints.  The 
scale  of  reds  obtained  in  mixing  blood-red  with  yellow, 
yellow-ochre,  finishing  brown,  black  No.  1,  carmine, 
carmine-purple  and  purple  is  quite  equal  to  any  decora- 
tion required.  In  painting  purple  drapery  it  contributes 
much  to  the  rich  effect. 

Finishing  B^o^n.  * * * 

Finishing  brown  is  a mixture  of  different  colors,  and 
is  convenient  to  have  ready  for  use.  The  use  of  finishing 
brown  is  explained  by  its  name.  On  a portrait  the  fin- 


— 24  — 


MIXING  COLORS.— Continued. 

ishing  touches  are  put  in  with  it.  The  drawing  of  eyes, 
nose  and  lips  is  strengthened  with  finishing  brown. 

The  small  forms  of  hair  are  worked  out  with  it. 
It  is  also  used  to  deepen  or  darken  any  of  the  other 
colors.  When  any  color  has  been  rendered  dark  enough 
with  finishing  brown,  it  is  sometimes  not  brilliant 
enough.  A wash  of  the  pure  color,  with  which  the 
finishing  brown  was  used,  should  then  be  given. 

When  used  heavily,  finishing  brown  is  opaque.  It 
should  not  be  used  by  itself  as  a thin  wash  for  a local 
tint.  When  painting  flesh  or  other  subjects  which  are 
quite  finished  in  tone,  but  have  places  that  need  patch- 
ing and  the  drawing  demands  accentuating,  this  is  done 
with  finishing  brown. 


Black  J\|o. 


5^  ^ ^ 


Black  is  a very  important  color.  When  used  heavily 
it  is  quite  opaque.  Some  black  No.  1,  mixed  with 
turquoise-green,  gives  very  recommendable  dark  green. 

A cold  gray  is  made  from  black  and  blue.  As  a 
glazing  color  black  renders  excellent  service. 

As  in  oil  colors  every  pure  color  should  be  modi- 
fied by  a different  color:  for  example,  flesh  tones  as 
first  united  are  too  intense,  hence  it  is  necessary  to  lay 
over  them  a very  thin  black  wash  when  they  become 
life-like.  This  wash  is  applied  for  the  last  firing. 

Thus  can  beautiful  atmospheric  effects  be  achieved. 
Without  such  modification  colors  are  flat  and  dead.  An 
intense  deep  and  brilliant  black  is  supplied  by  adding 
a little  purple  to  black. 


^ ^ * 


Carmine  is  chiefly  used  in  painting  flowers.  It 
can  he  laid  on  heavily  or  thin,  depending  upon  the 
brilliancy  and  delicacy  striven  for. 

Carmine  mixed  with  canary-yellow  and  turquoise- 
green  or  green  alone,  yields  a very  soft  gray  for  leaves 
and  flowers.  Too  glaring  yellow-green  is  reduced  by  a 
thin  wash  of  carmine.  Very  happy  results  are  obtained 
from  carmine  No.  1,  black  No.  1 combined,  to  give  a 
final  glaze  to  the  shadow  side  of  pink  roses. 


Purple  is  a strong  color.  Blue  or  blood-red  or 
ochre  or  carmine  will  give  purple  a flush,  according  to 
the  kind  of  purple  aimed  at.  Blue  will  make  bluish- 
purple  and  ochre,  golden  purple,  etc.  Very  dark  purple 
is  obtained  by  mixing  purple,  finishing  brown  and  a 
little  black.  Very  rich  purple  is  made  by  washing  over 
this  dark  purple,  with  pure  purple  or  purple  mixed  with 
blue  or  blood-red,  etc.,  according  to  the  particular  tone 
the  purple  is  wanted  to  incline.  Blood-red,  turquoise- 
blue  and  purple  will  furnish  a tone  corresponding  to 
the  color  known  as  deep  violet  of  gold. 

A little  purple  added  to  black  No.  1 will  give  in- 
tense richness  to  the  latter. 


Turquoise-blue  and  turquoise-green  are  the  only 
colors  that  are  cold.  Turquoise-blue  is  put  to  the  same 
use  as  cobalt-blue  is  in  oil  or  Avater  colors.  The  atmos- 
phere between  eye  and  object  or  the  interspace  that  re- 


* ^ 


— 26  — 


MIXING  COLORS. — Continued. 

lieves  one  object  from  another  is  best  expressed  by  blue. 
In  every  background  we  should  use  some  blue  or  green. 
It  is  a matter  of  individual  perception  or  artistic  inde- 
pendence to  decide  to  use  turquoise-blue  or  turquoise- 
green  in  reproducing  atmospheric  effects. 

We  obtain  the  various  tints  of  violet  shades  in 
mixing  blue  with  carmine  and  purple. 


'Turquoise-GIreeq, 


% 


Turquoise-green  is  a strong  color.  It  does  not 
change  materially  in  firing  when  used  pure  or  inter- 
mixed with  other  colors.  In  different  combinations 
with  any  of  the  other  colors  it  furnishes  the  entire  scale 
of  greens  as  seen  in  nature. 

Green  and  purple  gives  a gray,  much  used  in  paint- 
ing landscapes  to  indicate  distances,  and  to  bring  forth 
atmospheric  tones.  Turquoise-green  mixed  with  canary- 
yellow  gives  a yellow  or  apple-green;  turquoise-green 
and  yellow-ochre  provides  olive-green;  turquoise-green, 
canary-yellow  and  blue  supply  moss-green;  turquoise- 
green  and  carmine-purple  a cold  gray;  turquoise-green, 
purple  and  black  No.  1,  or  turquoise-green,  yellow-ochre 
and  black  No.  1,  or  turquoise-green  and  finishing  brown, 
each  of  these  combinations  yield  a shading  green. 

Turquoise-green,  turquoise-blue  and  black  No.  1 
equal  a dark  green. 


rawing.  * * 


IMPRESSION  PAPER, 
TRACING, 

OUTLINING, 

PAINTING, 

DRAWING  arid  TRACING. 


Application  of  Color, 
Blending, 

LigEE  Half-tones,  Shadows. 
Reflections, 

Transmitted  LigEt 
Effects. 


It  is  absolutely  necessary  for  the  amateur  to  trace 
the  subject  to  be  painted  on  the  china.  Drawing  figures 
free-hand  on  china  is  impracticable,  as  wavering  out- 
lines and  other  obscure  lines  are  unavoidable,  and  would 
unnecessarily  deface  the  china.  We  should  have  the 
china  clean  and  clear,  and  the  subject  delineated  in 
delicate  but  distinct  outlines,  and  a few  prominent 
points  indicated,  that  lend  assistance  in  painting.  If 
the  subject  to  be  painted  is  an  original  design,  draw 
this  on  paper  and  trace  from  it.  The  artist  will  find 
the  X Rays  colors  excellent  material  for  sketching  with- 
out previous  designing. 

Impression 

For  an  impression  it  is  necessary  to  lay  transfer 
paper  between  the  tracing  or  drawing  and  the  china. 
The  china  should  be  rubbed  off  with  turpentine  or 
medium,  in  order  to  give  tooth  to  the  impression. 

The  only  serviceable  transfer  paper  is  made  by 
scratching  with  a knife  a bit  of  lead  from  a pencil  and 


— 28  — 


DRAWING.— Continued. 


rubbing  it  with  the  finger  on  a thin  piece  of  writing 
paper.  Make  a trial  on  the  china  with  this  paper  by 
using  a few  strokes  to  see  if  the  impression  be  of  a 
light  yet  distinct  gray.  Should  the  paper  impress  a 
black  line  or  otherwise  soil  the  china,  wipe  off  some 
of  the  superfluous  lead  with  a cloth.  Try  again  and 
if  it  works  well  you  have  an  impression  paper  for  fur- 
ther use.  The  tracing  is  glued  on  the  china  with  muci- 
lage in  one  or  two  places  to  prevent  its  moving.  The 
transfer  paper  is  laid  underneath  the  tracing,  and  the 
lines  of  the  latter  are  carefully  followed,  with  hard  sharp 
pointed  lead  or  slate  pencil.  It  is  advisable  to  outline 
the  drawing  on  the  china  with  the  blood-red  of  the  china 
paints.  When  the  subject  is  laid  in,  these  lines  will 
not  entirely  wash  out;  enough  will  retain  to  assist  in 
the  painting. 

In  laying-in,  these  lines  can  be  softened  and  taken 
in;  or,  if  this  was  neglected,  they  can  be  scratched  out 
after  the  painting  has  dried.  To  outline  with  water 
colors  or  India  ink  cannot  be  approved.  It  ought  to 
be  done  very  accurately  in  pale  uniform  lines,  as  these 
lines,  being  fixed  and  immovable,  are  very  annoying  in 
the  subsequent  painting,  and  deceiving  if  they  do  not 
correctly  mark  the  drawing.  Some  china  painters  de- 
lineate in  some  discretional  china  color  and  fire  this  in ; 
however,  this  is  a risky  thing  for  an  amateur  to  do. 


The  color  should  be  laid  in  with  as  large  a brush 
as  possible.  The  amateur  should  from  the  start  correct 
the  bad  habit  of  using  small  brushes.  Look  upon  your 


— 29  — 


DRAWING. — Continued. 


subject  as  a mass  of  light  and  shade,  ignoring  all  detail. 
Load  the  brush  well,  and  lay  the  color  on  boldly.  Begin 
by  giving  the  subject  a local  tint;  then  put  in  half- 
tones and  shadows,  reflected  lights,  etc.  over  the  local 
tint.  We  may  also  begin  same  as  with  oil  paints,  by 
blocking  in  heavily  shadow,  half-tone  and  the  light 
(a  thin  tint  for  light).  Paint  flat  and  in  masses. 

X Rays  colors  will  remain  open  and  retain  their 
blending  power.  The  artist  can  paint  with  perfect  ease, 
as  there  is  no  reason  to  hurry  on  account  of  the  paints 
drying. 

If  the  local  tint  be  desired  light,  use  less  color  and 
enough  oil  to  spread  the  small  quantity  evenly  over  the 
desired  space.  The  heavier  the  color  is  applied,  the 
less  oil  must  be  used,  too  much  oil  will  make  the  color 
run,  and  thus  liable  to  collect  dust  and  work  disagree- 
ably. If  you  are  using  color  sparingly  with  more  oil, 
make  a few  strokes  in  a clean  place  on  the  palette 
with  your  brush,  which  will  in  this  manner  deposit 
unnecessary  oil  and  regulate  it. 


After  the  color  has  been  laid  on  crudely  in  blocks, 
take  your  largest  brush,  first  having  cleaned  it  in  tur- 
pentine and  made  it  pliable  with  medium,  and  blend 
all  together,  going  gently  over  the  whole  painting  from 
right  to  left,  and  from  the  light  to  the  shadows. 

In  blending  care  must  be  taken  to  have  the  blend- 
ing brush  in  perfect  condition.  It  is  a common  fault 
of  amateurs,  that  after  cleaning  the  brush  in  turpentine 
they  dip  only  the  point  of  the  brush  in  the  medium. 


— 30  — 


DRAWING. — Continued. 


The  turpentine  still  adhering  to  the  top  of  the  brush 
makes  it  unfit  for  the  purpose.  Steep  the  brush  well 
into  the  oil,  and  then  wipe  it  gently  with  the  paint- 
rag.  The  brush  so  treated  will  be  damp  and  pliable, 
and  yielding  to  the  hand,  and  give  perfect  satisfaction. 

Where  larger  spaces  are  to  be  blended,  a stippling 
brush  lends  good  assistance.  The  use  of  the  pad  is 
objectionable,  except  for  decorative  tints,  etc. 

A pad  used  on  a figure  will  absolutely  destroy  all 
forms. 


Every  object  in  nature  consists  of  light,  half-tone 
and  shadow.  If  the  light  be  warm,  the  shadows  are 
warm,  and  the  half-tone  between  light  and  shadow  is 
cold.  Light  and  shadows  cold,  the  half-tone  will  be 
warm.  In  nature  two  warm  tones  are  interposed  by  a 
cold  half-tone,  and  vice  versa. 


Rotundity  is  expressed  by  a reflected  light  that 
extends  on  the  uttermost  edge  of  the  part  of  the  sub- 
ject that  is  in  the  shadow. 


Bits  of  bright  light  from  one  object  are  sometimes 
reflected  on  another.  Painting  these  apparently  stray 
colors,  make  a painting  extremely  bright  and  interest- 
ing. Putting  a pink  touch  apparently  unqualified  on 
a white-rose,  illustrates  the  point. 


and 


Reflected  flight. 


Transmitted  light  is  light  shining  through  trans- 
parent objects,  such  as  grapes.  It  is  of  a very  bright 
and  brilliant  hue. 


The  background  may  be  painted  first,  the  figure 
next,  beginning  with  the  hair,  or  the  background  may 
be  put  in  after  the  figure  has  had  one  fire.  Generally, 
if  the  background  is  painted  first,  this  is  dried  before 
the  figure  is  begun.  This  is  not  essential.  With  these 
colors  an  artist  will  be  able  to  work  the  whole  picture 
together.  In  this  way  the  hair  and  drapery  can  be 
beautifully  blended  into  the  background,  and  no  hard 
lines  result.  If  the  background  is  heavy  and  to  be 
dried,  and  the  figure  laid  in  afterwards,  hard  lines  are 
sometimes  unavoidable.  For  the  subsequent  firing,  hair, 
drapery  and  background  should  be  painted  together,  and 
the  hard  outlines  will  gradually  disappear. 


FIRST  FIRE. — The  local  tint  of  flesh  is  mixed  from  canary- 
yellow,  blood-red  and  a little  carmine-purple,  Take  with 
the  brush  some  canary-yellow  and  place  on  the  palette 
(mix  tints  with  the  brush  and  not  with  the  palette- 
knife),  and  mix  some  blood-red  with  it  to  make  the 
desired  flesh  tint,  then  add  a little  carmine-purple. 
Thin  this  with  X Kays  medium.  Give  the  whole  flesh 
an  even  wash  of  this  tint.  Care  must  be  taken  as  to 


PAINTING  FLESH.— Continued. 


the  amount  of  oil  used.  Much  depends  upon  this.  The 
color  must  flow  freely  and  evenly  from  the  brush,  the 
tint  laid  on  must  be  damp,  to  admit  any  amount  of 
blending,  yet  it  must  not  be  wet  and  run,  and  collect 
dust.  The  warm  half-tone  is  laid  in  next.  It  is  mixed 
from  blood-red  and  a little  carmine-purple.  The  warm 
half-tone  is  used  to  indicate  the  red  around  the  cheek- 
bones, eyes,  lips,  nostrils  and  about  the  chin.  The  re- 
flected light  is  put  in  next,  and  extends  on  the  edge 
of  that  part  of  the  subject  which  is  in  the  shadow. 
There  is  also  reflection  under  the  chin,  nostrils  and 
eyebrows.  The  cool  half-tint  unites  the  warm  local  tint 
or  light  with  the  warm  deep  shadows.  The  cool  half- 
tone is  to  be  composed  of  carmine-purple  and  turquoise- 
green  (equal  parts)  and  some  ochre  added.  The  roots 
of  the  hair  on  the  forehead  can  be  indicated  by  the 
warm  or  cold  half-tone.  The  deep  shadows  are  the 
same  as  the  cold  half-tone,  with  more  ochre  and  some 
blood-red,  and  a little  black  added.  After  the  local  tint, 
half-tones  and  deep  shadows,  etc.  are  laid  in  boldly,  the 
whole  is  blended  with  your  broadest  brush.  Pass  the 
brush  gently  over  the  whole,  blend  from  light  to  sha- 
dow and  from  left  to  right.  After  the  subject  is  blended 
any  amount  of  work  can  still  be  put  in,  as  it  will  re- 
main open  for  several  hours  and  admit  the  blending  in 
of  different  colors,  and  forms  may  be  modeled  out  very 
far.  The  high  lights  should  be  washed  out  with  a clean 
brush  (made  pliable  with  oil).  After  blending,  and  be- 
fore the  subject  has  dried,  the  eyes  and  eyebrows  should 
be  put  in,  and  the  drawing  in  general,  eye-lids,  nostrils, 
etc.,  be  strengthened.  After  drying,  the  high  light  on 
the  nose  and  in  the  eye  can  be  scratched  out.  Where 


33  — 


PAINTING  FLESH.— Continued. 

the  high  light  is  required  broad  and  soft,  as  on  the  fore- 
head and  cheek-bone,  this  is  better  done  with  the  brush 
before  drying.  After  the  hair  and  drapery  have  been 
laid  in  likewise,  the  subject  should  be  slightly  dried 
over  heat.  The  hair  can  be  painted  first,  and  while  still 
moist  the  flesh  tints  of  the  face  be  blended  in. 

The  drawing  is  perfected  by  working  over  the  dried 
color.  With  an  understanding  of  the  technique  of  water 
colors,  the  artist  can  work  indefinitely  on  a picture  after 
it  has  been  dried.  Broad  washes  can  be  laid  on,  but 
if  the  person  be  inexperienced,  he  had  better  have  it 
fired  first.  Different  complexions  require  their  domi- 
nating color  to  be  used  more  freely.  The  shadows  and 
half-tones  of  children  are  more  delicate  gray.  Cupids 
are  very  rosy  and  require  more  blood-red  and  carmine- 
purple. 

Before  firing  look  your  subject  over  well  that  the 
lights  are  well  defined,  and  that  there  are  no  mistakes 
in  the  drawing. 

SECOND  FIRE. — The  work  for  the  second  fire  is  to  apply 
color  that  will  give  brilliancy  and  depth  to  the  shadow, 
and  relief  to  the  lights.  Background  and  drapery  may 
be  made  first,  and  Ave  can  see  better  what  strength  of 
color  the  flesh  parts  need.  Suit  your  proportion  of  dif- 
ferent colors  to  the  tints  already  fired  in;  as  in  the  flesh 
color:  Should  this  be  inclining  to  yellow  in  the  first 

fire,  use  prevalently  blood-red  and  carmine-purple  for  the 
second  fire.  Above  all,  see  that  your  colors  acquire 
power.  Maintain  a strong  distinction  between  light  and 
shade,  and  keep  in  mind  that  a warm  tone  is  relieved 
by  a cold  one. 


— 34  — 


PAINTING  FLESH.— Continued. 

THIRD  FIRE. — Our  picture  after  the  second  fire  should  be 
strong  enough  in  color  and  require  only  finishing  touches. 
Certain  tones  are  refined,  and  mellow  and  atmospheric 
effects  obtained,  by  a thin  wash  of  color.  The  drawing 
is  accentuated  with  finishing  brown.  Finishing  touches 
should  not  be  attempted  before  our  figure  has  body  and 
detaches  itself  from  the  background;  that  is,  it  must 
have  strength  in  light  and  shade,  and  stand  out  pre- 
eminently. If  the  amateur  is  not  sufficiently  skilled  in 
the  free  application  of  color,  to  succeed  in  obtaining 
powerful  coloring  in  two  fires,  the  work  of  the  second 
fire  should  be  repeated  until  this  is  gained,  and  the  work 
as  given  here  for  the  third  time,  that  is  finishing  touches, 
must  be  reserved  for  the  last  fire. 

Pairing  0~i  ina.^ — 

Judging  from  common  experience  there  are  but  few 
amateur  kilns  that  come  up  to  expectation.  We  will 
herewith  try  to  give  a few  hints  to  improve  a kiln. 

Muffles  made  of  iron  are  not  commendable  as 
they  are  injurious  upon  the  flux  of  the  colors.  Gases 
originate  in  the  pores  of  the  iron  when  it  becomes  hot 
and  precipitate  upon  the  mineral  paints.  To  prevent 
the  iron  directly  affecting  the  china,  Ave  give  the  inside 
of  the  muffle  a coating  of  brick.  Tavo  tablespoonfuls 
of  borax  are  dissolved  in  enough  Avater  to  thin  tAVO 
pounds  of  common  yellow  clay  to  the  consistence  of 
thick  cream.  This  paste  is  spread  with  a brush  about 
the  inside  of  the  muffle.  Before  firing  any  china  this 
coating  is  dried  and  given  red  heat.  We  then  have 
a muffle  lined  with  brick. 


— 35  — 


FIRING  CHINA.— Continued. 

All  kilns  should  be  provided  on  the  outside  with  an 
evaporating  funnel.  A short  funnel  can  easily  he  made 
longer  of  sheet  iron  by  any  tinner. 

Charcoal,  gas,  oil  or  other  combustible  used  to  fire, 
will  develop  gases  that  penetrate  the  smallest  cracks, 
and  in  this  way  injure  the  colors. 

We  should  therefore  see  that  all  cracks  are  well 
closed,  and  use  for  this  purpose  the  before  mentioned 
paste.  We  have  heard  of  such  nonsense  as  white-wash- 
ing the  inside  of  a kiln.  It  is  truly  surprising  how  any 
one  could  be  advised  so  foolishly.  Salt  or  the  smallest 
particle  of  candle  mean  certain  death  to  the  glaze. 

In  speaking  of  amateur  kilns  it  is  important  to  ob- 
serve, that  pieces  decorated  with  bright  gold  or  lustre 
are  not  to  be  fired  together  with  careful  work  that  want 
several  fires.  Very  fine  pieces  of  work  in  figures,  por- 
traits or  flowers  should  be  well  dried  before  firing, 
allowing  every  bit  of  oil  to  evaporate  from  the  china. 
Any  combustible  matter  (in  the  latter  case  oil)  will 
develop  gases  that  must  he  allowed  to  escape,  as  other- 
wise in  the  closed  kiln  will  precipitate  on  the  china 
and  destroy  the  glaze.  Colors  laid  on  in  thin  washes 
will  be  most  injuriously  affected  by  strange  matter. 

If  treated  properly  all  colors,  no  matter  if  they  be 
applied  heavily  or  thinly,  should  become  high  glaze. 

X Rays  require  a less  degree  of  heat  than  other 
china  colors.  The  first  fire  should  be  strong,  to  insure 
glaze  and  perfect  blending  of  the,  colors.  If  colors  burn 
out  too  much  they  have  been  fired  too  strong.  All  suc- 
cessive fires  should  be  gradually  diminished. 


— 36  — 


FIRING  CHINA.— Continued. 


Simply  stacking  a kiln  and  giving  a certain  amount 
of  heat  is  not  firing.  Firing  wants  to  be  studied.  Every 
kiln  wants  different  handling  and  has  its  peculiarities. 
The  following  incident  gives  evidence  of  the  ignorance 
current  among  amateurs  relating  to  firing:  A lady  sent 

a plate,  decorated  with  roses  painted  with  carmine,  to  be 
fired.  With  it  she  gave  impressive  instruction,  uto  put 
the  plate  in  a cool  place  in  the  kiln.”  (A  kiln  is  not 
constructed  on  the  same  principles  as  an  ice-chest.) 

Another  lady  had  used  delft-blue  in  powder  on  a 
plate.  This  had  become  a high  glaze  in  the  first  two 
firings,  but  the  third  time  had  come  rough  from  the  kiln, 
though  no  more  color  had  been  put  on  the  delft-blue, 
but  only  the  flower  decoration  had  been  touched  up. 
She  told  her  woes,  insisting  between  each  sentence  over 
and  over  again,  she  had  used  X Rays  colors. 

Anybody  should,  in  this  case,  immediately  have 
been  convinced  that  the  fault  lay  entirely  with  careless 
firing.  Colors  that  fire  with  glaze  the  first  time  can- 
not possibly  lose  this  in  successive  fires,  whether  more 
color  or  not  was  put  on. 


After  the  roses  have  been  outlined,  wash  over  the 
whole  a thin  local  tint  mixed  of  canary  yellow  and 
carmine  No.  1.  The  half-tone  is  put  in  next  with  a gray 
made  of  canary-yellow,  carmine  No.  1 and  turquoise- 
blue.  The  reflections  are  indicated  with  yellow.  Also 
paint  the  centre  with  touches  of  canary-yellow.  The 
deep  shadows  are  given  the  same  half-tone,  but  increas- 
ing the  proportion  of  carmine.  The  half-tones,  reflec- 


— 37  — 


WHITE  ROSES.— Continued. 

tions  and  shadows  should  be  laid  in  place  boldly  with- 
out any  aim  at  details.  The  colors  so  blocked  in  are 
then  blended  together  with  the  largest  brush.  After 
blending,  when  still  moist,  wash  out  the  high  lights 
entirely  on  the  turned  over  edges  of  each  roseleaf  with 
a clean  brush  dampened  with  medium.  Each  single 
feature  may  be  shaped  out  more  carefully  now  by 
touches  of  deep  color,  or  we  may  fire  it  and  put  in 
details  in  the  second  firing. 

In  painting  the  leaves  more  accurately  be  careful 
to  keep  the  edges  soft,  avoid  hard  lines  but  indicate 
what  you  seek  in  touches  of  clear  color. 

Let  each  of  these  touches  be  well  reflected  that 
effects  may  be  produced  in  a distinct  and  meaning 
manner.  For  the  second  fire  we  glaze  over  with  any 
color  that  will  throw  out  a color  or  retire  it,  warm  it  or 
cool  it  as  we  deem  fit. 

Crisp  lights  may  be  scratched  out  with  a knife 
after  the  subject  has  been  dried  a little  over  heat. 

The  green  leaves  of  a white  rose  are  a pale  grayish- 
green.  Take  for  the  local  tint  turquoise-blue,  canary- 
yellow  and  carmine  No.  1,  and  shade  with  turquoise- 
green  and  black  No.  1.  The  lights  can  be  left  out 
and  washed  over  thinly  with  pure  turquoise-blue  for 
the  second  fire. 


fellow  | 


Aoses. 


Local  tint,  canary-yellow.  For  a greenish  half-tone 
take  canary-yellow,  turquoise-green  and  carmine,  or  if 
preferred  a warm  half-tone  mixed  with  yellow-ochre, 


— 38  — 


YELLOW  ROSES. — Continued. 

carmine  and  blood-red.  Reflections,  a very  pale  tint 
mixed  of  canary -yellow  and  turquoise-blue.  Deep 
shadows,  carmine-purple  and  yellow-ochre.  The  crisp 
high  lights  must  be  washed  or  scratched  out.  A yellow 
rose  has  sometimes  red  touches  upon  some  of  the 
leaves,  these  are  painted  with  blood-red  or  carmine- 
purple  or  both. 


The  green  leaves  of  a yellow  rose  are  yellow-green. 
The  local  tint,  yellow  and  turquoise-green,  is  shaded 
with  finishing  brown,  turquoise-green  and  yellow-ochre. 


A good  plan  to  paint  a pink  rose  is  to  lay  in  half- 
shadows and  deep  shadows  with  pure  carmine  No.  1, 
graduating  the  tint.  Leave  broad  lights  entirely  white 
china  and  use  the  carmine  a little  heavier  to  make  the 
shadows  and  centre.  Put  in  the  reflections  with  canary- 
yellow  and  a little  ochre. 

For  the  second  fire,  we  glaze  the  lights  with  car- 
mine No.  1,  and  put  the  gray  half-tones  of  turquoise- 
green,  carmine-purple  and  a little  ochre.  The  deep 
shadows  are  marked  with  blood-red  and  carmine-purple. 

If  a third  fire  is  to  be  given,  a good  effect  is  obtained 
by  glazing  over  the  entire  shadow-side  of  the  rose  with 
black  No.  1 and  carmine  No.  1. 

The  green  leaves  of  a pink  rose  are  moss-green. 
Local  tint,  canary-yellow,  yellow-ochre  and  turquoise- 
green,  shaded  with  turquoise-green,  yellow-ochre  and 
black  No.  1.  The  lights  may  be  washed  out,  and  at 
the  second  painting  be  washed  over  with  thin  canary- 
yellow. 


— 39  — 


|)ark-Red  Roses. ^ — 

We  cannot  succeed  in  representing  the  intense 
brilliant  red  seen  in  dark-red  roses  by  loading  an 
amount  of  red  all  over  the  flower,  but  we  must  care- 
fully observe  all  intermediate  tints,  allow  prominent 
high  lights  and  very  deep  shadows. 

To  depict  the  variation  of  color  we  glaze  in  different 
colors  at  the  second  painting.  When  painting  with 
purple  use  it  rather  heavy.  This  color  must  be  used  in 
this  case  in  its  full  strength  to  have  power.  Purple 
must  be  carefully  blended.  To  gain  an  even  tint  is  im- 
portant. 

DARK=RED  ROSES  having  bluish  or  purplish  lights. — 

Local  tint  is  put  in  with  purple.  Half-tones  are  put  in 
with  purple  and  blood-red;  reflections,  canary-yellow; 
deep  shadows,  finishing  brown  and  purple.  High  lights 
are  washed  out. 

For  second  fire,  wash  the  lights  with  carmine  No.  1, 
and  deepen  the  shadows  with  blood-red  and  purple, 
blending  into  the  deep  shadow  color  some  ochre  will 
imitate  the  velvety  texture  of  dark-red  roses.  Into  the 
dark  centre  glaze  a little  black  No.  1. 

DARK=RED  ROSES  having  warm  red  lights. — Local  tint, 
carmine-purple;  half-shadows,  blood-red;  reflection,  tur- 
quoise-blue or  green.  Deep  shadows,  finishing  brown 
and  carmine-purple.  Take  out  the  lights. 

Second  painting,  wash  over  the  whole  with  blood- 
red  and  strengthen  the  drawing  with  blood-red  and 
black  No.  1.  Green  leaves  of  purple  roses  are  purplish 
green.  Local  tint,  turquoise-green,  canary -yellow  and 
carmine-purple,  shaded  with  turquoise-green,  carmine- 
purple  and  finishing  brown. 


40  — 


For  light  violets  use  turquoise-blue  and  carmine,  in- 
creasing the  quantity  of  one  or  the  other  for  bluish  or 
pinkish  violets.  Shade  with  turquoise-blue,  purple  and 
a little  ochre. 


Turquoise-blue  and  carmine-purple,  shaded  with 
finishing  brown,  turquoise-blue  and  purple.  Violets 
away  back  and  indistinct  give  relief  to  those  that  are 
bright  and  near,  and  are  indicated  with  a gray  tone. 


Carmine-purple  is  a mixture  of  carmine  and  purple. 
Carmine  being  for  certain  purposes  too  light  in  color, 
and  purple  too  deep.  The  artist  is  able  to  mix  this  tint 
himself.  However,  it  is  more  convenient  and  perhaps 
safer  to  have  this  tint  ready  and  reliable  on  the  palette. 

A little  carmine-purple  added  to  blood-red  gives 
the  red  half-tones  seen  in  flesh.  Carmine-purple  and 
yellow-ochre  washed  over  green  will  change  green  into 
warm  gray.  With  carmine-purple  and  green  atmos- 
pheric effects  are  attained. 

Carmine-purple  with  turquoise-blue  added  is  a val- 
uable tone  much  used  for  violets. 


* * raperies.  * * 


* ^ ^ 


Red 


Local  tint  warm,  very  thin  wash  of  canary-yellow 
and  carmine-purple.  Half-tone  delicate  cold  gray  mixed 
from  carmine-purple,  turquoise-green  and  a little  ochre. 
Shadows  warm,  same  as  half-tone  with  black  No.  1 
and  more  ochre  added.  Reflections  warm  and  delicate, 
canary-yellow,  yellow-ochre  and  carmine-purple. 


Local  tint  warm,  a thinner  or  heavier  wash  of 
canary -yellow,  according  to  the  delicacy  or  brilliancy  re- 
quired. Half-tone  cold,  turquoise-blue  and  black  No.  1. 
Shadow  warm,  blood-red,  carmine-purple  and  ochre. 
Reflection,  cold  delicate  gray,  turquoise-green  and  car- 
mine-purple. 


Local  tint  warm,  blood-red  and  carmine-purple, 
equal  parts.  Half-tone  cold,  turquois.e-green  and  carmine- 
purple.  Shadows  warm,  blood-red,  purple  and  black 
No.  1.  Reflection,  yellow-ochre. 


— 42  — 


Blacl^  Drapery.  * * * 

Local  tint  cold,  black  No.  1 and  turquoise-blue. 
Half-shadow  warm,  carmine-purple,  yellow-ochre  and 
black  No.  1.  Shadow  cold,  black  No.  1,  turquoise- 
green  and  purple.  Reflection,  yellow-ochre. 


Light  cold,  blue.  Half-tone  warm,  orange.  Sha- 
dow cold,  turquoise-blue,  black  No.  1 and  a little  purple. 
Reflection,  carmine-purple  and  turquoise-green. 


Gtreer)  §)ra pery.  * * * 

Light,  turquoise-green.  Half-tone,  blood-red,  car- 
mine-purple and  turquoise-green.  Shadow,  turquoise- 
green  and  black  No.  1.  Reflection,  canary-yellow  and 
a little  carmine  No.  1. 

Pinly  [grapery.  * * * 

Light,  carmine  No.  1.  Half-shadows,  turquoise- 
green  and  carmine-purple.  Shadows,  carmine-purple, 
yellow-ochre  and  blood-red.  Reflection,  canary-yellow. 


Purple  Drapery.  * * * 

Light,  carmine-purple.  Half-shadows,  turquoise- 
blue.  Shadows,  purple,  blood-red  and  finishing  brown. 
Reflection,  canary-yellow. 


air.  * * * 


Cold  local  tint,  canary-yellow,  a little  carmine- 
purple  and  turquoise-green.  Half-shadow,  warm  yellow- 
ochre  and  a little  carmine-purple.  Shadows  cold,  car- 
mine-purple, turquoise-green  and  yellow-ochre. 


Local  tint  warm,  yellow-ochre  and  blood-red.  Half- 
tints cold,  turquoise-blue,  carmine-purple  and  yellow- 
ochre.  Shadows  warm,  carmine-purple,  yellow-ochre, 
blood-red  and  black  No.  1. 


Local  tint  warm,  yellow-ochre  broken  with  a little 
carmine-purple.  Half-tint  cold,  turquoise-blue,  black 
No.  1 and  a little  carmine-purple.  Shadows  warm, 
yellow-ochre,  blood-red  and  black  No.  1. 


Local  tint  warm,  canary-yellow  and  carmine-purple. 
Half-shadow  cold,  turquoise-blue  and  black  No.  1. — 
Shadows  warm,  turquoise-green,  carmine-purple,  yellow- 
ochre  and  black  No.  1.  Broad  high  lights  must  be 
washed  out. 


air.  * * * 


— 44  — 


^ * * 


There  are  two  kinds  of  black  hair;  the  blue-black , 
which  is  peculiar  to  the  Latin  races,  and  the  warm 
black,  which  we  find  among  the  mixed  races. 

The  first  black  hair  has  bluish  lights,  warm  half- 
tone and  cold  shadows.  The  other  black  hair  has 
warm  lights  and  shadows. 

BLUE=BLACK  HAIR. — The  local  tint  is  mixed  from  tur- 
quoise-blue and  a little  black  No.  1.  The  half-shadows, 
black  No.  1,  purple  and  yellow-ochre.  The  deep  shad- 
ows, black  No.  1,  turquoise-green  and  purple. 


BLACK  HAIR. — The  local  tint  is  mixed  from  carmine- 
purple  and  turquoise-green,  warmed  with  yellow-ochre. 
Cold  half-shadows,  black  No.  1,  one-half  as  much  purple 
and  ochre.  Warm  shadows,  black  No.  1 and  blood-red. 


In  painting  any  color  of  hair  apply  the  paint  gen- 
erously. Paint  in  masses  of  light  and  shade,  same  as 
anything  else.  After  blending,  wash  out  some  of  the 
high  lights  to  mark  the  forms  of  the  hair.  The  de- 
tailed forms  of  hair  are  put  in  for  the  last  firing,  with 
finishing  brown  for  every  color  of  hair  except  black. 
For  this  latter  use  black  No.  1 and  finishing  brown. 


Painting  Y enocKromes. 


MONOCHROMES  are  always  pleasing.  The  work  is  simple  and 
gratifying.  Monochromes  in  delft-blue,  sepia  and  red- 
brown  are  in  great  favor. 

Delft-blue  and  red-brown  are  two  colors  not  in- 
cluded with  the  palette  of  ten  colors  for  ordinary  work . 
Sepia  is  a mixture  of  yellow-ochre,  canary-yellow,  tur- 
quoise-blue, turquoise-green,  carmine-purple  and  enough 
black  No.  1 added  to  darken  it  to  suit  individual  taste. 

Sepia  of  X Rays  colors  can  also  be  bought  ready 
mixed. 

The  color  in  a Monochrome  is  laid  in  the  same 
as  painting  flesh,  but  that  the  work  is  all  done  with 
one  color. 

The  local  tint,  half-tone  and  shadow  are  repre- 
sented by  graduation  of  one  color.  Small  finishing 
touches  are  put  in  after  having  dried  the  subject  a 
little  over  heat.  To  paint  on  dried  color,  we  take  oil 
into  the  brush  and  very  little  paint,  then  on  a clean 
place  on  the  palette  we  make  a few  strokes  and  turns 
with  the  brush. 

This  will  expel  the  superfluous  oil  from  the  brush, 
and  enough  color  and  oil  remain  to  give  a soft  mark 
that  will  unite  with  the  dried  color  on  the  china,  but 
not  run  over  it  or  disturb  the  undertone. 


— 46  — 


X Rays  Grounding  Oil. 

X RAYS  GROUNDING  OIL  possesses  the  quality  to  retain  moist 
longer  than  any  other  grounding  oil  as  yet  on  the 
market.  The  oil  is  thinned  with  a little  turpentine, 
and  then  applied  on  the  china  and  padded  quite  evenly. 
If  we  mix  a little  X Rays  color  into  the  grounding  oil 
we  can  better  distinguish  to  produce  an  even  surface. 
The  oiled  china  must  be  allowed  to  stand  about  one- 
half  hour  before  the  powder  color  is  dusted  on.  We 
may  graduate  the  tints  by  the  length  of  time  we  allow 
the  grounding  oil  to  stand  on  the  china.  Therefore 
we  obtain  carmine  by  applying  after  one-half  hour, 
then  in  graduations,  after  ten  hours  we  attain  a very 
delicate  rose  color.  (Any  of  the  X Rays  colors  can  be 
had  in  powders  also.) 

Scrolls  or  other  decoration  can  be  drawn  on  the 
dusted  surface  with  a pointed  brush  handle.  This  de- 
mands some  skill,  as  a slip  of  the  instrument  or  any 
other  accident  can  never  he  rectified,  and  the  dusting 
work  must  he  done  all  over. 

The  following  plan  is  new  and  will  give  perfect 
satisfaction  in  securing  an  even  and  sharp  edge  deco- 
ration in  a dusted  surface. 

Some  prepared  chalk  is  mixed  with  water  and  a 
little  mucilage  to  the  consistency  of  ready  mixed  paste. 
The  conventional  design  is  drawn  upon  the  china  and 
is  covered  with  the  chalk  in  the  manner  that  paste 
or  enamel  work  is  done.  The  grounding  oil  is  spread 
over  the  whole  subject,  and  padded  and  dusted  with  the 
powder  as  is  described  above.  After  firing,  the  chalk 
will  peel  off  and  leave  the  design  in  white  china. 

A marble  effect  can  be  produced  by  dusting  dif- 
ferent colors  on  the  surface.  Carmine,  turquoise-blue, 
turquoise-green  and  canary-yellow  give  a pretty  com- 
bination for  a marble  effect. 


— 47  — 


X Rays  (Xledium. 

X RAYS  MEDIUM  is  the  only  oil  necessary  for  painting  and 
tinting.  X Rays  Medium  will  best  speak  for  itself 
when  used.  Nobody  will  dispute  the  fact  that  it  is 
unequaled  by  any  oil  used  in  painting  and  tinting  with 
mineral  colors.  It  has  a fine  flexible  quality. 

The  common  complaint  is  the  tackiness  and  gen- 
eral unpliant  nature  of  the  oils  used  with  mineral  paints. 

X Rays  Medium  will  retain  its  blending  properties 
any  length  of  time  after  application.  It  adheres  to  the 
china,  to  admit  blending  without  rubbing  up. 

In  tinting  use  so  much  oil  as  to  allow  even  spread- 
ing of  the  tint.  The  tint  must  appear  damp  but  not 
wet.  If  it  be  wet,  it  will  collect  dust. 


Paste  and  Relief  tJUhite. 

X Rays  Paste  and  Relief  White  work  on  the  same  principle 
as  the  colors,  they  flow  easily  and  readily  from  the 
brush.  They  are  ready  for  use  as  they  come  from  the 
jars.  If  they  become  a little  too  stiff,  add  medium,  the 
same  as  you  would  with  the  colors.  Relief  White  is 
made  for  soft  and  hard  glaze,  and  hence  cannot  chip 
off.  If  extra  high  relief  is  wanted,  put  paste  on  first 
and  dry  this  and  cover  with  Relief  White.  This  will 
be  found  to  be  especially  durable. 

Relief  White  may  be  given  any  tint  by  adding 
color  to  it. 


* * i recti  ens  * * 


FOR  MIXING  1 


to  produce  certain  ^ell-Kno^n  tints. 


X RHYS  COLORS,/ 


The  following  directions  for  mixing  to  produce 
certain  tints  are  given  to  assist  the  amateur  to  be- 
come familiar  with  the  colors.  For  the  accommodation 
of  decorators  these  tints  are  sold  ready  mixed.  Any 
especial  color  that  the  flower-painter  finds  suitable  for 
bright  touches  or  effects,  is  made  to  order  on  application 
at  J.  Schumacher’s  Studio,  1820-24  Chouteau  Avenue, 
St.  Louis,  Mo. 

Bright-red  and  gold-yellow  are  recommendable  for 
painting  flowers.  Bright-red  is  serviceable  for  depicting 
popi-es.  Used  pure  and  in  full  strength  it  is  of  extreme 
brilliancy. 

Gold-yellow  takes  about  the  same  place  that  cad- 
mium does  in  oil  paints. 


CHROME-GREEN  .—Turquoise  -blue  and  turquoise-green. 
DARK-GREEN. — 1 rurquoise-green,  black  No.  1 and  a little  purple. 

SHADING-GREEN. — 1 rurquoise-green,  black  No.  1,  purple  and  yel- 
low-ochre. 

APPLE-GREEN.— C anary-yellow  and  turquoise-green. 
GRASS-GREEN. — Turquoise-green,  yellow-ochre  and  a little  canary- 
yellow. 

SEA-GREEN. — Turquoise-blue,  canary-yellow  and  carmine  No  1. 
OLIVE-GREEN.— T urquoise-green  and  yellow-ochre. 


— 49  — 


MOSS-GREEN.— 1 [Tirquoise-green,  canary-yellow,  turquoise-blue 
and  a little  blood-red. 

EGG-YELLOW.—  Canary-yellow,  yellow-ochre  and  a little  carmine- 
purple. 

ORANGE-YELLOW.— C Canary-yellow,  yellow-ochre  and  a little 
blood-red. 

YELLOW-BROWN. — Yellow-ochre,  blood-red  and  finishing  brown. 

CARNATION-RED.— Blood-red. 

SALMON. — Blood-red,  canary-yellow  and  carmine  No.  1. 

MAROON. — Purple  and  blood-red. 

GRAY  FOR  FLESH.— C armine-purple,  turquoise-green  and  yellow- 
ochre. 

GRAY  FOR  FLOWERS.— Turquoise  -blue,  black  No.  1,  carmine 
No.  1 and  canary-yellow. 

WARM-GRAY.—  Turquoise-blue,  yellow-ochre  and  carmine  No.  1. 

COFFEE  COLOR. — Yellow-ochre,  blood-red,  canary-yellow  and  car- 
mine No.  1. 

CHOCOLATE. — Yellow-ochre,  carmine-purple,  turquoise-blue,  a 
little  blood- red  and  some  black  No.  1 . 

CHESTNUT-BROWN. — Yellow-ochre,  blood-red  and  carmine-purple. 

VANDYKE-BROWN. — Yellow-ochre,  blood-red,  carmine-purple  and 
black  No.  1. 

LIGHT-PINK  VIOLET.— Tu  rquoise-blue  and  carmine  No.  1. 

LIGHT-BLUE  VIOLET. — Turquoise-blue,  carmine  No.  1 and  finish- 
ing brown. 

DARK-WARM  VIOLET. — Turquoise-blue,  carmine-purple  and  blood- 
red  (or  ochre). 

DARK-BLUE  VIOLET.— T lurquoise-blue,  purple  and  finishing  brown. 

DARK-RICH-PURPLE  VIOLET. — Purple,  blood-red,  finishing  brown 
and  a little  turquoise-blue. 


to  Directors  of  Art  Schools 


The  painter  upon  canvas  or  in  water  colors  must 
as  a rule  display  not  only  exceptional  talent,  but  also 
be  blessed  with  uncommon  luck,  in  order  that  the 
sale  of  his  productions  provide  him  a means  of  living. 
Painting  upon  china,  by  using  X Rays  colors,  enables 
the  artist  or  student  of  art  to  produce  work,  which, 
while  it  adds  to  his  development  and  reputation,  at  the 
same  time  has  an  immediate  and  universal  market. 
Briefly,  one  may  say  that  china-painting  is  the  bread 
and  butter  sister  of  the  muses.  In  all  academies  where 
instruction  in  art  is  given,  it  would  seem  to  be  highly 
desirable,  if,  in  addition  to  developing  the  technical 
knowledge  and  skill  in  art,  the  results  of  the  students’ 
work  would  provide  them  with  a livelihood. 

Most  of  our  teachers  of  china  painting  have  received 
their  art  education  only  at  European  china  factories. 
They  have  become  very  familiar  with  china  colors  and 
by  long  years  of  practice  have  acquired  a knack  of  pro- 
ducing brilliant  coloring  and  effects.  This  is  deceiving 
and  leads  us  to  overlook  the  essentials  that  mark  the 
work  of  the  artist.  These  persons  should  be  called 
china  decorators.  They  are  ill  qualified  for  teaching. 
They  lack  art  education  and  cannot  give  their  pupils 
an  understanding  of  the  principles  of  art  which  would 
rapidly  make  them  independent  and  original. 

X Rays  colors  will  permit  artists  to  take  up  china 
painting  and  impress  their  work  with  their  individuality. 
There  would  no  longer  he  the  tiresome  similarity  of  all 
paintings  on  china.  By  looking  at  a piece  of  painted 
china  we  might,  by  its  manner  of  painting,  readily 
recognize  the  well  known  artist,  the  same  as  we  do 
in  oil  painting. 


and  Students  of  Art.  . . 


^■able  of  (^ntents. 


X RAYS  COLORS 

Mineral  colors 

Mineral  paints 

Painting  purple  drapery 

THE  OUTFIT 

The  palette 

Preparing  the  colors  ready  for  use 

The  brushes 

TABLE  OF  COLORS  AND  THEIR  DESCRIPTION 

Canary-yellow 

Yellow-ochre 

Blood-red 

Finishing  brown 

Black  No.  1 . 

Carmine  No.  1 

Carmine-purple 

Purple 

Turquoise-blue 

Turquoise-green 

DRAWING 

Impression  paper 

Application  of  color 

Blending 

Light,  half-tones  and  shadows 

Reflected  light 

Effects 

Transmitted  light 

HOW  TO  PAINT  FIGURES 

PAINTING  FLESH 


Page 

7 

7 

. 8 
. 12 
. 14 
. 16 
. 17 
. 18 
19 
, 21 
22 


23 

23 

24 

25 
40 
25 
25 


26 


27 

27 

28 

29 

30 

30 
3( ) 

31 
31 
31 


TABLE  OF  CONTENTS.— Continued. 

Page 


FIRING  CHINA 34 

PAINTING  ROSES 36 

White 36 

Yellow 37 

Pink 38 

Dark-red  39 

PAINTING  VIOLETS 40 

PAINTING  DRAPERIES 41 

White 41 

Yellow 41 

Red 41 

Black 42 

Bine 42 

Green 42 

Pink 42 

Purple  42 

PAINTING  HAIR 43 

Light  blond 43 

Red  blond 43 

Brown  blond 43 

White 43 

Black 44 

PAINTING  MONOCHROMES 45 

X RAYS  GROUNDING  OIL 46 

X RAYS  MEDIUM ■ 47 

PASTE  AND  RELIEF  WHITE 47 

DIRECTIONS  FOR  MIXING  X RAYS  COLORS 48 

A PRACTICAL  HINT 50 


Johannes  Schumacher, 


* Q^tudie:  @ * 

1820-24  Chouteau  Avenue, 

St.  Louis,  Mo. 

-5SSa(5)€i€^ 


FACTORY  OF  MINERAL  COLORS:  1822  Chouteau  Avenue. 


F\  Weber  & Go., 


MANUFACTURERS  AND  IMPORTERS  OF 


- - - SOLE  AGENTS  FOR  - - - 

Schumacher's  X RAYS  CHINA  COLORS, 

IMPORTERS  OF  AND  DEALERS  IN 

White  Ghir\a  for  Decorating. 


Main  House  and  Factory:  Philadelphia,  Pa. 

©^BRANCH  HOUSES:^® 

709  LOCUST  STREET,  5 N.  CHARLES  STREET, 

ST.  LOUIS,  MO.  BALTIMORE,  MD. 


NOTES, 


JW1W' 


NOTES. 


GETTY  CENTER  LIBRARY 


3 3125  00798  2321 


